Motel California started with a couple of promising episodes that had me wanting more; however, it went downhill rather quickly after that. What could have been an engaging story turned into a frustrating mess, with a lack of communication between characters and, worse, zero chemistry between the main leads.
The biggest issue? Na In Woo. After some miraculous weight loss transformation (because that’s totally original), he takes over as the lead, and the drama nosedives even further. His acting is as exaggerated as ever—he’s the undisputed champion of overacting, turning every scene into a melodramatic mess. If you’ve seen his older works, you already know what to expect: over-the-top expressions, awkward delivery, and an inability to carry emotional depth.
The worst part is that this could have still been watchable if they had leaned into comedy. Instead, the writers actually thought they could make a serious drama out of this weak "lost childhood love" plot. The story kept going in circles for what felt like an eternity, only to lead to an oddly unsatisfying ending. It felt rushed and sloppy. Too many unnecessary side plots were added, only to be either completely forgotten or hastily wrapped up in a way that made them feel pointless.
And then there's the dialogue—absolutely terrible. One of the most ridiculous moments was when the second male lead actually told the male lead, "Please transfer the ownership of Kang Hee Si to me." This just proves how Korean society—or at least this drama—treats women as objects that can be owned and transferred. What kind of writing is this? It’s 2025, not a feudal-era drama!
Ironically, Na In Woo is only getting attention now because of his recent hit drama, which, let’s be real, was a success solely because of Park Min Young. His presence had little to do with it, yet suddenly, he’s being cast as a leading man. Motel California is proof that popularity doesn’t always equal talent.
If you’re looking for something engaging, skip this one. The slow pacing, uninspired plot, terrible dialogue, and Na In Woo’s unbearable acting make it a tedious watch.
The biggest issue? Na In Woo. After some miraculous weight loss transformation (because that’s totally original), he takes over as the lead, and the drama nosedives even further. His acting is as exaggerated as ever—he’s the undisputed champion of overacting, turning every scene into a melodramatic mess. If you’ve seen his older works, you already know what to expect: over-the-top expressions, awkward delivery, and an inability to carry emotional depth.
The worst part is that this could have still been watchable if they had leaned into comedy. Instead, the writers actually thought they could make a serious drama out of this weak "lost childhood love" plot. The story kept going in circles for what felt like an eternity, only to lead to an oddly unsatisfying ending. It felt rushed and sloppy. Too many unnecessary side plots were added, only to be either completely forgotten or hastily wrapped up in a way that made them feel pointless.
And then there's the dialogue—absolutely terrible. One of the most ridiculous moments was when the second male lead actually told the male lead, "Please transfer the ownership of Kang Hee Si to me." This just proves how Korean society—or at least this drama—treats women as objects that can be owned and transferred. What kind of writing is this? It’s 2025, not a feudal-era drama!
Ironically, Na In Woo is only getting attention now because of his recent hit drama, which, let’s be real, was a success solely because of Park Min Young. His presence had little to do with it, yet suddenly, he’s being cast as a leading man. Motel California is proof that popularity doesn’t always equal talent.
If you’re looking for something engaging, skip this one. The slow pacing, uninspired plot, terrible dialogue, and Na In Woo’s unbearable acting make it a tedious watch.
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